It’s nighttime, and M. and I are walking back along the road that bisects Calvary Cemetery underneath the BQE. The passing of trucks overhead is a constant thrum of bass, but otherwise the street we’re on is empty, and for most of the long stretch bordered by the monumental graveyard on both sides we’re the only ones out and about. It’s a strangely isolated, tunnel-like route, and we’re just commenting on this when we notice some incongruous activity in the street up ahead. Several people appear to be dancing in the middle of the street. As we grow closer the scene gradually pulls into focus: one man is dancing and gesticulating and the two others are filming him, the first standing still holding a huge Steadicam, the other carrying a smaller camera and zipping back and forth on what appears to be a Hoverboard. A couple of photo lights are set up on the street, and a boombox is sitting in front of the singer playing the song he’s lip-synching. It’s a low-tech, DIY music video shoot. A truck rumbles past the ensemble, set up smack dab in the middle of the street, but the singer doesn’t so much as flinch. When we arrive abreast of the group we have to step around the pile of equipment set up on the sidewalk. I start to wonder whether we’ve inadvertently walked into the shot, and just at that moment the man on the Hoverboard zooms up from behind us, passing by us on the street, then navigating up onto the sidewalk. The first thought is: we were indeed in the shot, and now he’s going to have to ask us to sign a waiver. ‘I won’t be pressured into signing anything,’ I think to myself, ‘It’s our right to be walking here on this public sidewalk under this expressway without worrying about being in somebody’s music video shoot.’ But no: the man on the Hoverboard keeps going to the next street corner, where he deftly steers up to a traffic cone, snatches it, then executes a perfect 180 degree turn and zips back to the photo shoot.